ROMANELLI, GIOVANNI FRANCESCO ROMANELLI, GIOVANNI FRANCESCO Viterbo 1610 - 1662 Titel: Allegorie der Wahrheit. Technik: Kreide. Maße: 37,5cm. Alter Sammlungsstempel "Marquis de Lagoy" unten rechts. Provenienz: Sammlung Joseph-Hyacinthe-François de Paule de Rigaud, comte de Vaudreuil (1780er), Paris; Kunstmarkt, Paris (1791); Sammlung Vincent Donjeux (1793), Paris; Kunstmarkt, Paris (1794); Sammlung Jean-Baptiste-Florentin-Gabriel de Meryan Marquis de Lagoy (1764-1829), Aix-en-Provence, Frankreich; Privatbesitz, Deutschland. Giovanni Francesco Romanelli galt als einer der italienischen Maler der Barockzeit, der sowohl in seiner Heimat auch im Ausland, insbesondere in Frankreich, Erfolge feiern konnte. Nachdem er 1640 durch die Vermittlung von Kardinal Giulio Mazzarino einige Gemälde für den französischen Finanzminister Michel Particelli d'Émery ausgeführt hatte, konnte der Künstler die erste Reise nach Frankreich zwischen Juni 1646 und September 1647 antreten. Zu den ersten Aufträgen in Paris gehörte die Dekoration mehrerer Räume im Duret-Tubeuf-Palast und des Kabinetts des Hôtel Lambert. Der zweite Aufenthalt Romanellis in Paris (1655-57) erfolgte auf Wunsch der Königinmutter Anna von Österreich, die Romanelli mit der Dekoration von fünf Zimmern ihrer Sommerwohnung im Palais du Louvre beauftragte. Neben der Herstellung von Leinwänden führte Romanelli auch Zeichnungen aus, die als Vorstudien für Dekorationen dienten oder als eigenständige Kunstwerke angesehen werden können. Dazu kann die vorliegende Allegorie der Wahrheit gezählt werden, deren Präsenz in Frankreich zumindest vom Ende des 18. bis zur Mitte des 19. Jahrhunderts belegt ist. Sie erscheint im Verkaufskatalog der Sammlung von Joseph-Hyacinthe-François de Paule de Rigaud, Graf von Vaudreuil vom 26. November 1787: "F. Romanelly. Une Femme debout relevant un voile qui lui couvre la tête; elle est appuyée contre un tertre au bas duquel on voit deux masques. Ce dessin agréable, précieux & très-terminé, est aux trois crayons sur papier blanc. Pastel trois Buntstifte sur papier blanc, Hauteur 20 pouces, largeur 15 p.". Bis 1794 tauchte das Blatt in weiteren Verkäufen in Paris auf, die von dem bekannten Kunsthändler und Sammler Jean-Baptiste-Pierre Lebrun organisiert wurden. Schließlich gelangte die Papierarbeit in die berühmte Sammlung von Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy. Die berühmte "marque de collection" mit einem großen L im Dreieck in schwarzer Tinte, die unten rechts abgebildet ist, verweist auf diese Provenienz. Erläuterungen zum Katalog Giovanni Francesco Romanelli Italien Barock 17.Jh. Handzeichnungen Allegorie Zeichnung Akte ROMANELLI, GIOVANNI FRANCESCO ROMANELLI, GIOVAN FRANCESCO Viterbo 1610 - 1662 Title: Allegory of Truth. Technique: Chalk. Height: 37,5cm. Old collection stamp "Marquis de Lagoy" bottom right. Provenance: Joseph-Hyacinthe-François de Paule de Rigaud collection, comte de Vaudreuil (1780s), Paris; Art market, Paris (1791); Vincent Donjeux collection (1793), Paris; Art market, Paris (1794); Jean-Baptiste-Florentin-Gabriel de Meryan Marquis de Lagoy collection (1764-1829), Aix-en-Provence, France; Private ownership, Germany. Giovanni Francesco Romanelli was considered one of the Italian painters of the Baroque period, who was successful both in his home country and abroad, especially in France. After he had executed some paintings for the French minister of finance Michel Particelli d'Émery in 1640, through the mediation of Cardinal Giulio Mazzarino, the artist was able to make his first trip to France between June 1646 and September 1647. Among the first commissions in Paris were the decoration of several rooms in the Duret-Tubeuf Palace and the cabinet of the Hôtel Lambert. Romanelli's second stay in Paris (1655-57) was at the request of Queen Mother Anne of Austria, who commissioned Romanelli to decorate five rooms of her summer residence at the Palais du Louvre. Besides making canvases, Romanelli also made drawings, which served as preliminary studies for decorations or can be regarded as independent works of art. Among these can be counted the present Allegory of Truth, whose presence in France is documented at least from the end of the 18th to the middle of the 19th century. It appears in the sales catalogue of the collection of Joseph-Hyacinthe-François de Paule de Rigaud, Count of Vaudreuil, 26 November 1787: "F. Romanelly. Une Femme debout relevant un voile qui lui couvre la tête; elle est appuyée contre un tertre au bas duquel on voit deux masques. Ce dessin agréable, précieux & très-terminé, est aux trois crayons sur papier blanc. Pastel trois coloured pencils on paper blank, hauteur 20 pouces, largeur 15 p.". Until 1794 the sheet appeared in further sales in Paris, organized by the famous art dealer and collector Jean-Baptiste-Pierre Lebrun. Finally the paper work came into the famous collection of Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy. The famous "marque de collection" with a large L in the triangle in black ink, which is shown at the bottom right, refers to this provenance. Explanations to the Catalogue Giovan Francesco Romanelli Baroque 17th C. Watercolour / Drawings Allegory Drawing Nudes
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KUMMER, ROBERT KUMMER, ROBERT Dresden 1810 - 1889 Titel: Meeresbrandung in der Bucht von Colares in Portugal. Technik: Öl auf Papier. Montierung: Auf Karton gelegt. Maße: 30 x 47,5cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf dem Karton handschriftlich: "Zur Erinnerung / an / Robert Kummer" sowie oben auf einem Papier der Stempel Lugt 1596. Provenienz: Nachlass des Künstlers; Auktion Villa Grisebach, Berlin, 30.11.2016, Lot 163; Sammlung Prof. Dr. Thomas Olbricht, Essen. Literatur: Vgl. E. Nüdling: Carl Robert Kummer. Ein Dresdener Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, Nr. 405, S. 293. Die bei Nüdling abgebildete lavierte Federzeichnung aus Dresdener Privatbesitz zeigt die gleiche Ansicht aus dem portugiesischen Colares, westlich von Sintra. Das Blatt trägt unten rechts den Nachlassstempel, der bei unserem Gemälde auf dem rückseitigen Papier zu finden ist; sie ist mit 1859 datiert. In diesem Jahr hielt sich Kummer zur Hochzeit des sächsischen Prinzen Georg mit der portugiesischen Königstochter Maria Anna in Lissabon auf und unternahm Ausflüge entlang der Küste. Die hier entstandenen Zeichnungen und Studien nutzte er in den Folgejahren als Vorlage für seine Landschaftsaufnahmen, die durch ihre klare und ungekünstelte Wiedergabe von Landschaft und Stimmung noch heute sehr modern wirken. Erläuterungen zum Katalog Robert Kummer Deutschland Dresdener Schule Romantik 19.Jh. Gemälde Küste Gemälde Südliche Landschaft KUMMER, ROBERT KUMMER, ROBERT Dresden 1810 - 1889 Title: Sea Surf in the Bay of Colares in Portugal. Technique: Oil on paper. Mounting: Laid down on card. Measurement: 30 x 47,5cm. Frame/Pedestal: Framed. Verso: On the card handwritten: "Zur Erinnerung / an / Robert Kummer" as well as stamped top on the paper Lugt 1596. Provenance: Artist's estate; Auction Villa Grisebach, Berlin, 30.11.2016, lot 163; Collection Prof. Dr. Thomas Olbricht, Essen. Literature: Cf. E. Nüdling: Carl Robert Kummer. Ein Dresdener Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, no. 405, p. 293. The washed pen and ink drawing from a private collection in Dresden shows the same view from Colares, Portugal, west of Sintra. The sheet bears the estate stamp at the bottom right, which is found on the paper on the back of our painting; dated 1859. In that year, Kummer was in Lisbon for the wedding of the Saxon Prince George and the Portuguese princess Maria Anna and took trips along the coast. In the years that followed, he used the drawings and studies produced here as models for his landscape images, which, with their clear and unaffected rendering of landscape and mood, still appear very modern today. Explanations to the Catalogue Robert Kummer Germany Dresden School Romanticism 19th C. Paintings Coast Painting Southern Landscape
Brees (Samuel Charles) Railway Practice: A Collection of Working Plans and Practical Details of Construction in the Public Works of the most Celebrated Engineers, First [-Third] Series (of 4), 3 vol., First Series, double-page lithographed frontispiece after Brees and 76 plates, list of subscribers, foxing and marginal water-staining, one or two plates frayed at edges or fold, modern morocco, 1837; Second Series, presentation copy from the author to RIBA library with accompanying A.L.s. tipped in at beginning and library bookplate, double-page etched frontispiece after Brees and 60 engraved plates, ink library stamp to verso of plates, contemporary half morocco, a little worn, 1840; Third Series, 69 engraved plates, light spotting, ex-Railway Club library copy with ink stamps, modern half morocco, 1847, first editions, plates folding and/or double-page, 4to (3) ⁂ One of the foremost sources of contemporary information on civil engineering issues relating to early railways and rolling stock. The First Series mostly concerns the London & Birmingham Railway; the Second includes aspects of the Great Western, the London & Croydon, and specifications and contracts for works on the Birmingham & Gloucester; the Third (and Fourth) are mostly devoted to French railways. Brees was one of those who engineered the London to Birmingham line under Stephenson. He later went to New Zealand, and Australia, and produced a topographical work on New Zealand. The Railway Club (disbanded 2009) was the first club for railway enthusiasts, founded in 1899.
Russia.- Lyall (Robert) The Character of the Russians, and a detailed History of Moscow, first edition, half-title, hand-coloured aquatint frontispiece and 22 plates, of which 12 are hand-coloured aquatints and 4 are folding, folding engraved map, some foxing and offsetting, ink library stamp to plate versos and a few text margins, modern diced half calf, spine gilt, [Abbey, Travel 227], 4to, 1823.⁂ An important work, which includes a fine folding panoramic view of the Kremlin from the river Moskva, a catalogue of local plants, an essay on Russian architecture and an account of Napoleon's burning of Moscow in 1814.
Anatomy.- Salvage (Jean-Galbert) Anatomie du Gladiateur combattant, applicable aux beaux arts, first edition, deluxe copy on special thick paper with counterproof plates, half-title, engraved plate entitled "L'art s'illustre par la science", one preliminary leaf misbound, 16 superb engraved plates printed in black and sepia, each accompanied by the corresponding counterproof plates bound opposite, 5 engraved plates printed solely in black, likewise with corresponding counterproofs bound opposite, printed on fine paper, some plates with Salvage's own oval ink stamp in lower corner (monogram JGSE above D.MDne, Lugt 4565), occasional marginal soiling, a few leaves with minor marginal tears/repairs, modern red morocco-backed marbled boards by Albert Valat of Montpellier, spine gilt, g.e., folio (544 x 376mm.), Paris, chez l'Auteur, de l'Imprimerie de Mame, 1812.⁂ A magnificent deluxe copy in exceptional condition. "The year 1812 saw the publication of one of the more remarkable illustrated books ever to appear in France. Titled 'Anatomie du gladiateur combattant,' it was inspired by contemporary rhetoric celebrating the role of the arts in the new post-revolutionary society. At the same time, it was a magnificent display of hard-won knowledge of human anatomy and a tribute to medical science" (Jean-Galbert Salvage and His Anatomie du gladiateur combattant: Art and Patronage inPost-Revolutionary France, Raymond Lifchez in: Metropolitan Museum Journal 44, 2009, p. 163). Salvage (1772-1813) was an army surgeon, anatomist, and skilled draftsman. He created three monumental écorchés, i.e. casts of human bodies represented without skin. He used the bodies of soldiers "in their prime" who were killed in duels, rather than patients who died as a result of illness. Salvage arranged his cadavers in the same pose as the Borghese Gladiator sculpture and meticulously worked out the skeletal and muscular anatomy. Salvage's écorchés are preserved at the Ecole Nationale des Beaux-Arts. This copy is enhanced by the inclusion of the counterproof plates, which show an important stage between Salvage's original drawings and the finished engraving. A counterproof is a proof of a proof - the artist takes an impression from the engraved plate and while it is still wet lays another piece of paper over it and runs it through the press, creating a counterproof. Because the original proof is the mirror image of the plate, the counterproof is the mirror image of a mirror image, so that the image is aligned the same way it is on the plate. The artist can draw on the counterproof and work from that to the plate without having to reverse the image. The counterproofs here do not show the titles or captions, which were added later.
NO RESERVE Geology.- Volcanoes.- Spallanzani (Lazzaro) Viaggi alle due Sicilie e in alcune parti dell'Appennino [vol.6 Oposcoli sopra diversi animali, che servono di appendice ai viaggi all due Sicilie], 6 vol., first edition, half-titles to vol. 2 and 4-6 only (lacking in other vol.), 11 folding engraved plates, plate IV repaired at head, without loss, small ownership stamp to half-titles or margin of f. following title (occasionally both), 19th century half vellum, spines lettered and decorated in black, lightly soiled and rubbed, a solid set, 8vo, Pavia, Baldassare Comini, 1792-1797. ⁂ 'Of special interest were his minute and picturesque descriptions of the eruptions of Stromboli, which at not a little personal risk he watched from a crevice in the lava. His Travels in the Two Sicilies and in some Parts of the Apeninnes contained a vast assemblage of careful observations among the recent and extinct volcanoes of Italy' (Geikie, The Founders of Geology, p. 199).
NO RESERVE Demosthenes and Aeschines. Demosthenis et Aeschinis mutuae accusationes de ementita legatione, & de Corona, ac contra Timarchum quinque numero, first Italian edition in Latin, collation: A-EE8, woodcut printer's device to title and verso of penultimate f., woodcut historiated and decorative initials, final f. blank, ink stamps to title and E1, minor worming to first and last few ff., mostly marginal, but touching the odd letter, more pronounced on endpapers, later vellum, leather and paper labels to spine, spine soiled, a few minor wormholes, marbled edges, 8vo (145 x 100mm.), Venice, Hieronymus Scotus, 1545.⁂ An important edition, which is rare at auction. Provenance: Biblioteca Prov. Ven. Med. S.J. Letteraria (stamp on title and E1); Collegio C. Arioi, Brescia (stamp on title); Compagnia del Gesu (book label and stamp on title).Literature: Adams D293; EDIT 16 CNCE 16736.
Opera.- Mozart (Wolfgang Amadeus) Cosi fan tutte o sia la scuola degli amanti, 3 vol. in 1, first edition, type-set music, cast list on verso of title to vol.3, small old ink stamp to title of vol.3, lacking engraved frontispiece, some foxing and browning, modern calf-backed marbled boards, oblong 4to, Leipzig, Breitkopfischen Musikhandlung, [1794].⁂ First edition of the piano/vocal score of one of Mozart's most popular operas, his final collaboration with the Italian librettist Lorenzo da Ponte. The full score was not published till 1810.
Nietzsche (Friedrich) Also sprach Zarathustra, 3 parts in 1, some light browning, embossed ownership stamp to front free endpaper, ink inscriptions to title and following leaf, contemporary half morocco over marbled boards, rebacked preserving original spine, [PMM 370], 8vo, Leipzig, E.W. Fritzsch, [1886].⁂ First edition, second issue, combining the sheets of the 3 parts originally published separately in 1883-84 and adding new general and divisional title pages. A fourth part was first printed privately in an edition of 45 copies in 1885 and then in a published edition dated 1891 but released the year after.
Caesar (Caius Julius) The Commentaries, translated by William Duncan, engraved portrait frontispiece, 6 double-page engraved maps and 78 plates, of which 55 are double-page and/or folding, ex-library copy with embossed stamp to plates and some text ff., occasional spotting or soiling, modern mottled calf, gilt, folio, for J. and R. Tonson and S. Draper...and R. Dodsley, 1753.⁂ A handsome copy of this superb edition enhanced by wonderful plates.
Frazer (Sir James George) The Golden Bough, 12 vol., owner's ink stamp on half-title of vol.1, part 1, original pictorial cloth, gilt, dust-jackets, spines darkened, some chips, 8vo, New York, 1935.⁂ The third and best edition (American issue) of Frazer's landmark anthropological study of magic and religion, greatly enlarged from the original 1890 first edition published in 2 volumes. This third edition was originally published in London, 1911-15, with a 13th supplemental volume published in 1936. The 12th volume here contains an extensive bibliography and index.A lovely fresh set, the covers bright and clean, preserved by the scarce dust-jackets.
Essex House Press.- The Book of Common Prayer, one of 400 copies on paper, printed in red and black in Endeavour and Prayer Book types, woodcut illustrations, initials and ornaments by W.Hooper and Clemence Housman after C.R.Ashbee, bookplate of King's College Cambridge and their small ink stamp to foot of colophon leaf, original calf-backed oak boards with woven leather straps and metal clasps, by the Guild of Handicraft under the direction of Anastasia "Annie" Power, lacking leather from round the clasps, corners chipped, uncut, 4to, London & New York, printed at the Essex House Press of Chipping Campden,1903.⁂ The largest book produced by the press and Ashbee's magnum opus, for which he designed the Prayer Book type.
Photographs.- An extraordinary collection of c.500 photographs of steam engines, many large format images as produced by many manufacturers throughout the second half of the nineteenth century and first half of the twentieth, depicting mostly nineteenth century engines, many albumen prints, most c.300 c.220 x 370mm. (or larger) or c.200 c.220 x 32mm. (or slightly smaller), loose in 4 old cloth portfolios with ties, arranged by railway line rather than manufacturer (LMS, LNER, Southern), rubbed, folio, [c.1859-1950].⁂ The original collector appears to have been a senior officer of Beyer and Peacock, and many of the images bear their design studio stamp on the reverse, sometimes dated many years after the photograph was taken, but nevertheless these are vintage prints clearly held in stock by the firm. The noted Manchester photographer James Mudd was the house photographer, many of the enclosed are from his studio. The collection has many quirky and interesting engines and some of the Beyer-Garratt type, and many that were sent overseas to all corners of the globe, especially to Australia.
Prou (Victor, engineer, ?1831-84) A Sa Majesté l'Empereur. Mémoire sur la suppression des Aiguilleurs des Chemins de Fer, manuscript, 34pp., written in black ink on squared paper, 4 large hand-coloured printed plates, one with short tear at inner edge and small repair to outer lower corner, old ink stamp to head of title, old German typescript catalogue description tipped in at beginning, bound in red morocco with gilt arms of Napoleon III to upper cover, g.e., slightly rubbed and marked, preserved in modern half dark maroon morocco slip-case with pull-off top, spine a little faded, small folio, Paris, 1st August 1859.⁂ A beautifully-written invention of a points system that could be operated by the driver of a train using an hydraulic system, with detailed printed plates. Prou's idea had been patented in London by Benjamin Browne earlier in 1859, but was, as far as we can tell, never introduced. Prou was a fervent advocate of the improved safety of his system, and this appeal to Napoleon III, whose enthusiasm for French railway was to be a lasting legacy of his regime, was well aimed but ultimately unsuccessful. French by birth Prou was at some point a railway engineer in Catalonia.
Ivon Hitchens (British, 1893-1979)Dahlias in a Grey Vase oil on canvas75 x 50.8 cm. (29 1/2 x 20 in.)Painted circa 1936Footnotes:ProvenanceEstate of the ArtistWith Jonathan Clark & Co, London, 24 September 2004, where purchased by Ross D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.Please note that this work has been authenticated by John Hitchens, the artist's son, and bears studio stamp (verso)Whilst Ivon Hitchens is primarily recognised for the abundance of landscape work he executed from his home in the Sussex countryside, still life painting formed an important part of his artistic output. The studio still life work from the 1930s, of which examples rarely appear at auction and the present work forms part of, differs to what would become a more charged and abstract style in later years.Hitchens' flower pieces and still lifes owe much to the influence of Georges Braque who, along with Cézanne, played a major role in his development. The present work is a striking example and incorporates a carefully selected floral bouquet with expressive palette. Hitchens' ability to successfully transcribe what we may consider a traditionalist subject within a modernist and clearly defined pictorial space make this work highly appealing.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nikolaos Gyzis (Greek, 1842-1901)Allegory of painting indistinctly signed 'N.Gysis' (middle right) and with the estate's stamp (lower right)charcoal and pencil on paper18cm diameter (dimensions of paper 33.5 x 34.5 cm)Footnotes:Provenance Themistoclis Tsatsos collection, Athens.Private collection, Athens.ExhibitedAthens, Etaireia Filotechnon, Exhibition of Works by Nikolaos Gysis, (retrospective), March 15 - May 15 1928, no. 5 (listed in the exhibition catalogue and with label on the verso). LiteratureM. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, p. 116 (discussed), p. 85, fig. 85 (illustrated).D.I. Kalogeropoulos, X. Sochos, Album of Tenian Artists, N. Gysis 1842-1900, Athens, 1925, p. 38 (mentioned). Nea Estia magazine, no. 602, August 1, 1952, p. 995 (mentioned).T. Tsatsos, On Painting, Estia editions, Athens 1970, p. 50 (mentioned).The Greek Painters, vol. 1, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 158 (mentioned).E. Kazolea, Das Allegorische Werk von Nikolaos Gysis, master's thesis, University of Regensburg, Regensburg 1988, p. 90 (discussed), no. 143 (illustrated). Y. Papaioannou, Nicholaos Gysis, ta Nea editions, Athens 2006, p. 109 (mentioned).For further information on this lot please visit Bonhams.com
Sharp (Thomas) Polygraphia Curiosa: the Book of Initial Letters and Ancient Alphabets for Ornamental Purposes, large paper copy [one of 250 copies], 10 engraved proof plates on india paper by David Jee, 1 coloured by hand, 4 engraved plates of music, text of a pageant printed in red and black, title with ink stamp and inscription "R. R. Bloxam from his father", scattered foxing, some light offsetting and soiling, front free endpaper with portion torn away, original cloth, rebacked, rather worn, 1825 § Polygraphia Curiosa: the Book of Initial Letters and Ancient Alphabets for Ornamental Purposes, chromolithographed title and 29 plates, some heightened in gilt, a few folding, scattered foxing, original decorative cloth, gilt, some wear to spine, [1844], 4to (2)
Kelmscott Press.- Morris (William) The Well at the World's End, one of 350 copies on Flower paper, printed in red and black in Chaucer type, wood-engraved illustrations designed by Edward Burne-Jones and borders and initials by Morris, ink library stamp to head of title and number to front free endpaper, variant binding of original holland-backed boards, uncut, boards rubbed and marked, spine worn and lacking part of paper label, joints split, [Peterson A39], large 4to, Kelmscott Press, 1896.⁂ Morris originally asked Arthur J.Gaskin to illustrate this work, his longest prose romance, but was unhappy with his designs and once again turned to Burne-Jones.A printed presentation label to front pastedown reads: "Given by Mrs William Morris in memory of her husband 1897."
Sweet (Robert) Flora Australasica, first edition, 56 hand-coloured engraved plates by S. Watts after E.D. Smith, occasional foxing, small ink stamp to title, modern calf-backed cloth, [Great Flower Books p.143; Ferguson 1144; Nissen BBI 1924], 8vo, 1827-28.⁂ The third illustrated work devoted to the botany of Australia, and the first with illustrations taken from live specimens rather than dried plants or field sketches. It is written from the perspective of Sweet the horticulturalist rather than that of a botanist and is concerned with the cultivation of exotic plants for British gardens and hot-houses, as he himself grew in his nurseries.
Kelmscott Press.- Meinhold (William) Sidonia the Sorceress, translated by Francesca Speranza, Lady Wilde, one of 300 copies on Flower paper, printed in red and black in Golden type, wood-engraved border and initials designed by William Morris, ink library stamp to head of title and number to front free endpaper, variant binding of original holland-backed boards, uncut, boards a little rubbed and soiled, spine worn and frayed and lacking most of label, upper joint split with upper cover almost detached, library number to foot of spine, [Peterson A19], large 4to, Kelmscott Press, 1893.⁂ Most copies were bound in original limp vellum with silk ties but Peterson notes that "Cockerell instructed Leighton to bind thirty copies in 'half holland uniform with the Golden Legend' and these were later donated to British and American libraries". A printed presentation label to front pastedown reads: "Given by Mrs William Morris in memory of her husband 1897."
![Foulis Press.- Homer. Iliados [&] Odysseais [graece], edited by Jacob Moor and George Muirhead, 4 vol. in 2, Greek text w](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/6f1e0dda-462a-4137-94c1-ac5d011b72f3/468x382.jpg)
Foulis Press.- Homer. Iliados [&] Odysseais [graece], edited by Jacob Moor and George Muirhead, 4 vol. in 2, Greek text with Latin dedication, preface and index, half-titles to vol.1 & 3 only, lacking general title and blank ff. as usual, light foxing, first 3ff. of vol. 3 with dampstaining to margins, attractive contemporary red straight-grain morocco with elaborate gilt borders in Greek key pattern, circular armorial gilt stamp of "The Trustees of the Rugby Charity" to covers, vol. 2 upper joint starting, some chipping to spines, extremities rubbed, [Gaskell 319], folio, Glasgow, Robert & Andrew Foulis, 1756-58.⁂ The magnum opus of the press, for which it was awarded the Silver Medal of the Select Society of Edinburgh in both 1756 and 1757. The Foulis brothers had the Greek font cut by Alexander Wilson, and its setting in the Homer shows it to splendid effect.
NO RESERVE Ellis (F.S.) The History of Reynard the Fox, presentation copy from the author inscribed on front free endpaper, frontispiece, title and decorations by Walter Crane, old library stamp to verso of frontispiece, original cloth, uncut, a little rubbed, rebacked preserving original spine, 1894; and 5 others including 2 Nonesuch Press volumes, 4to & small folio (6)
Arctic.- Hall (Capt. Charles Francis) Life with the Esquimaux: the Narrative of...the Whaling Barque "George Henry"..., 2 vol., half-titles, numerous wood-engraved illustrations, many full-page, folding lithographed map at end of vol.1 (short tear to inner edge), ink library stamp to head of titles, original pictorial green cloth, gilt, with border in blind, spines gilt and very slightly rubbed, small nick to one joint, a very good copy, [Sabin 29739], 1864 § Rosse (Irving C.) Cruise of the Revenue-Steamer Corwin in Alaska and the N.W.Arctic Ocean in 1881, 3 heliotype plates of hair magnifications, 5 chromolithographed and 4 tinted lithographed plates, a few leaves frayed at edges, original cloth, slightly rubbed, lower cover a little faded, Washington DC, 1883, first editions, both with library numbers and traces of labels at foot of spines, 8vo & 4to (3)⁂ The first is an account of Hall's first Arctic expedition, in search of traces of Sir John Franklin's fated expedition. Forced to winter on Baffin Island Hall located relics from Martin Frobisher's 16th century mining endeavours. Hall died on the American expedition to the North Pole in 1871. The second item includes information and plates on natural history.
Milton (John) Paradise Lost. A Poem Written in Ten Books, first edition, second state, title and text within double- and single-rule borders, woodcut initials, typographic headpieces, lacking initial blank f., title with loss to head and foot, affecting head of border and much of imprint (now supplied in a later hand), title fore-margin chipped and with "Arnold Library Rugby" ink stamp to , light foxing and some browning, ink name to rear endpaper, ink notes to front endpapers, contemporary blindstamped calf, upper cover detached, spine ends chipped, a little rubbed, [Pforzheimer 717; Wing M2137], small 4to, printed [by Samuel Simmons], and are to be sold by [Peter Parker] under Creed Church [neer Aldgate; and by] Robert Boulter at the [Turks Head in Bishopsgate-street; and Matthias Walker, under St. Dunstons Church in Fleet-street], [1667].⁂ "One of the greatest, most noble and sublime poems which either this age or nation has produced."" - John Dryden.The second state with "John Milton" in a smaller italic capital font. Rare in a contemporary binding. Provenance: Eliz. Davis (ink inscription).
![Kelmscott Press.- [Gulielmus, Archbishop of Tyre.] The History of Godefrey of Boloyne and of the Conquest of Iherusalem, from](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/567eee4a-37d2-45f5-9fc8-ac5d011b66d0/468x382.jpg)
Kelmscott Press.- [Gulielmus, Archbishop of Tyre.] The History of Godefrey of Boloyne and of the Conquest of Iherusalem, from William Caxton's edition of 1481, edited by H.Halliday Sparling, one of 300 copies on Flower paper, printed in red and black with text in Troy type and glossary in Chaucer, wood-engraved title, borders and initials designed by William Morris, very occasional spotting, faint ink library stamp to head of title and number to front free endpaper, original limp vellum with silk ties (ties lacking), yapp edges, spine titled in gilt, uncut, a little rubbed and rather soiled, especially spine, a few creases, [Peterson A15], 4to, Kelmscott Press, 1893.⁂ One of Caxton's most important works, according to Morris, and with many ornaments including the first use of the larger Kelmscott printer's mark. It was also the first book to be sold by the press itself and not through a publisher.A printed presentation label to front pastedown reads: "Given by Mrs William Morris in memory of her husband 1897."
Africa.- Tuckey (Capt. James Kingston) Narrative of an Expedition to Explore the River Zaire, usually called the Congo, in South Africa, in 1816, first edition, half-title, folding engraved map (lightly offset) and 13 engraved plates (one hand-coloured), wood-engraved illustrations, title spotted and with ink library stamp to corner, map lightly offset and with short tear at inner edge repaired, most plates foxed as usual, presentation inscription to front pastedown, contemporary calf, worn and scuffed, rebacked, 1818; and another, Africa, 4to (2)
Dagonneau (Jean) Legende de Domp Claude de Guyse, abbe de Cluny, woodcut head-pieces and initials, title neatly laid down, light foxing and browning, 17th century calf, rebacked, corners worn, rubbed, Captn. Michiels copy, with his stamp and ink notes, [Adams D1], no place, no printer, 1581 § Casaubon (Isaac) Epistolæ, title with large woodcut printer's device, woodcut head- and tail-pieces and decorative initials, some mostly marginal staining, occasional spotting, contemporary red morocco, gilt, covers with oval centre-pieces with a pierced heart at centre, within a triple filet border with floral corner-pieces, in turn within a further border of triple filets, spine in compartments with rich foliage decoration within double filet borders, spine ends chipped, joints just starting at head, but holding firm, corners worn, rubbed, The Hague, Theodor Maire, 1638; and 12 others, French, v.s (14)
Turkey.- Chandler (Richard) Travels in Asia Minor...made at the Expense of the Society of Dilettanti, second edition, folding engraved map, errata leaf, contemporary manuscript note to p.39, small hole to 2H3 with loss of a couple of letters, occasional spotting, contemporary half sheep, worn, covers detached, [cf.Atbey 215 & Blackmer 318, first edition of 1775], by J.Dodsley [& others], 1776 § Walpole (Robert) Memoirs relating to European and Asiatic Turkey, and other Countries of the East, second edition, aquatint title vignette, 4 engraved maps and 10 plates, 6 double-page or folding, foxing, mostly to maps and plates, 2R2-4 torn, contemporary russia, gilt, rubbed and rather defective, rebacked and lower corners repaired in morocco, 1818 § Conze (A.) & others. Die Ergebnisse der Ausgrabungen zu Pergamon, 7 plates & plans including one mounted photograph, 1880; Die Ergebnisse der Ausgrabungen zu Pergamon 1880-1881, 4 plates including folding colour map, 1882, 2 works in 1 vol., illustrations, ink library stamp to corner of first title otherwise very clean and bright, contemporary parchment, gilt, green roan label, a little rubbed and soiled, split to upper joint, Berlin, 1880-82, 4to (3)
Russia.- Macmichael (William) Journey from Moscow to Constantinople, in the years 1817, 1818, first edition, 6 aquatint plates, spotting, old ink library stamp to corner of title, ink presentation to front pastedown, contemporary calf with central gilt arms, rather worn, spine defective, covers detached, [Abbey Travel 20; Atabey 747; Blackmer 1054], 4to, 1819.⁂ Also covering Romania, Syria and the Holy Land and with detailed descriptions of Moscow, which contain important information on the reconstruction of the city after the devastating fire of 1812.
Turkey.- Gilles (Pierre) The Antiquities of Constantinople, edited by John Ball, 2 parts in 1, first English edition, engraved portrait, title, 11 plates & plans, some folding, and tail-piece, H3 defective at foot with loss of a few letters, lacking H4-6, foxed, some water-staining, old calf-backed boards, rebacked preserving most of old spine, worn, for the translator, 1729 § Busbecq (A.G. de) Travels into Turkey, second English edition, old ink library stamp to corner of title, contemporary calf, rebacked preserving old spine, worn, upper cover detached, J.Robinson, 1744 § Walsh (Rev. R.) Narrative of a Journey from Constantinople to England, third edition, 2 folding lithographed maps, 8 lithographed plates, 2 folding, some foxing, contemporary calf, spine gilt with red roan label, 1829; and a defective set of Tavernier's Six Voyages...en Turquie, en Perse, et aux Indes, 3 vol. in 5 only (lacking vol.3 part 1), The Hague, Henri Scheurleer, 1718, 8vo et infra; sold not subject to return (8)
Mountaineering.- Atkins (Henry Martin) Ascent to the Summit of Mont Blanc, many annotations in pencil (slightly trimmed), some light spotting, short tear to fore-edge of one leaf repaired, later cloth, [Neate A72; Perret 0161; Meckly 005], 'Not Published', 1838 § Whymper (Edward) Scrambles amongst the Alps in the years 1860-69, folding colour cross-section and 5 maps at end, one colour, 4 folding, wood-engraved plates and illustrations, upper hinge weak, contemporary brown morocco, gilt, g.e., spine a little rubbed, 1871; Travels amongst the Great Andes of the Equator, 2 vol. including Appendix, wood-engraved plates and illustrations, folding map in pocket at end of first volume, ink library stamp to half-title of appendix, original cloth, gilt, rubbed and soiled, 1892-91, first editions, [the second & third Neate W65 & 66], 8vo (4)
TIFFANY & CO. TIFFANY & CO. USA. Um 1990. 750/- Gelbgold, Punze, Gesamtgewicht: ca. 17,5 g. Collier 39,0 cm, Ohrstecker Länge 2,1 cm. Ca. 118 Akoya-Zuchtperlen Ø ca. 3,0 - 8,2 mm. Perlen in feiner Qualität. Signatur "T & Co" sowie Datumsstempel des Modells "1994". Tiffany Blue Box, Etui und Staubbeutel anbei. Tiffany & Co. Schmuck 1990er Set Gelbgold Perle USA Erläuterungen zum Katalog TIFFANY & CO. Pearl-Set: Necklace and Ear Studs. TIFFANY & CO. USA. Ca. 1994. 750/- yellow gold, with mark, total weight: ca. 17,5 g. Necklace 39,0 cm, ear studs length 2,1. Approx. 118 Akoya cultured pearls Ø ca. 3,0 - 8,2 mm. Pearls in fine quality. Signature "T & Co" as well as date stamp of model "1994". Tiffany blue box, etui and dust cover enclosed. Explanations to the Catalogue Tiffany & Co. Jewellery 1990s set Yellow gold Pearl USA
HEMMERLE HEMMERLE Deutschland, München. Bronze, Innenring 750/- Weißgold, Punze, Gesamtgewicht: ca. 29,0 g. EU-RM: 57. 1 ovaler, facettierter Aquamarin ca. 8,4 ct., 16,7 x 12,1 x 8,0 mm. Punze und Signatur "Hemmerle". Massiver Ring in Bandringfassung mit deutlichen Tragespuren. Orig.-Ledermäppchen anbei. Hemmerle Schmuck Ring Bronze Aquamarin Deutschland, München Erläuterungen zum Katalog HEMMERLE Aquamarine-Ring. HEMMERLE Germany, Munich. Bronze, inside ring 750/- white gold, total weight: ca. 29,0 g. EU Ring Size: 57. 1 oval, faceted aquamarine ca. 8,4 ct., 16,7 x 12,1 x 8,0 mm. Solid ring in band ring setting with clear signs of wear. Stamp and signature "Hemmerle". Original leather etui enclosed. Explanations to the Catalogue Hemmerle Jewellery Ring Bronze aquamarine Germany, Munich
Diamant-Armband. Diamant-Armband. Italien. Art Deco Stil. 750/- Weißgold, Punze, Gelbgoldverbödung, Gesamtgewicht: ca. 51,0 g. 18,0 cm. Ca. 231 Brillanten zus. ca. 9,2 ct., I-L/VS-SI. Italienischer Legierungsstempel. Schmuck Art Deco Armband Weißgold Diamant Deutschland Erläuterungen zum Katalog Diamant-Armband. DIAMOND-BRACELET. Italy. Art Deco Style. 750/- white gold, with mark, yellow-gold plating, total weight: ca. 51,0 g. 18,0. Ca. 231 brilliants in total ca. 9,2 ct., I-L/VS-SI. Italian alloy stamp. Explanations to the Catalogue Jewellery Art Deco Bracelet White gold diamond Germany
A JAPANESE PAINTING OF A MACAQUE, BY KAWABATA SHUNSUI (1882-1934), EARLY 20TH CENTURY depicting the monkey balancing in a maple tree with one hand and holding a dragonfly in the other, ink and colour on silk laid on card, signed and red seal stamp 54.5 x 74cm The Kyoto artist Kawabata Shunsui graduated from the Kyoto School of Art and Crafts and studied under the master Yamamoto Shunkyo (1871-1933).
˜A VICTORIAN SILVER TEAPOT, SAMUEL SMILEY FOR GOLDSMITHS' ALLIANCE LTD., LONDON, 1872 compressed globular, bright-cut engraved with formal foliate strapwork around a cartouche with two crests and another vacant, with cast gourd and leaf finial, silver handle, underside with retailer's stamp 'GOLDSMITHS ALLIANCE / LIMITED / CORNHILL LONDON' 25cm long, 568gr (18oz) including ivory insulators
PETER DE WINT (1784-1849) - NEAR CHEDDINGTON, INSCRIBED IN PENCIL WITH THE TITLE AND DATE AUGUST 1847 LOWER RIGHT, REITLINGER COLLECTION STAMP, VERSO, BLACK CHALK HEIGHTENED WITH WHITE ON GREY PAPER, 17 X 26CM, UNFRAMEDPROVENANCE: THE COLLECTION OF HENRY SCIPIO REITLINGER (1882-1950) (LUGT 2274A), SOTHEBY'S, 26TH MAY 1954, LOT 603; ANON SALE DUKE'S, DORSET, 26TH SEPTEMBER 2013, LOT 97, TO THE PRESENT VENDOR Not laid down, hinged only at top to the present window mount. Good condition
AN ELIZABETH II OVAL SILVER WAIST CLASP OF HEAVY GAUGE, PIERCED WITH FLOWERS AND FOLIAGE AND ENGRAVED WITH INITIALS, 54 X 78MM, MAKER M V S, LONDON 1978, A VICTORIAN SILVER DRAWER TYPE POSTAGE STAMP CASE, BIRMINGHAM 1898 AND A SILVER PENCIL BY S MORDAN & CO, 3 OZ 7 DWT All in good condition; postage stamp case with light wear and shallow surface dents but undamaged
AN EDWARDIAN SILVER POSTAGE STAMP BOX, 6CM L, MARKS RUBBED, BIRMINGHAM 1902 AND MISCELLANEOUS SILVER ARTICLES, TO INCLUDE A MATCHBOX SLIDE EMBOSSED WITH AN ARMOURED CAR WITH INSCRIPTION DATED APRIL 1926, A WAIST CLASP, WINE TASTER, WRYTHEN FLUTED SCENT BOTTLE, MOTHER OF PEARL HAFTED BUTTER KNIFE, VICTORIAN SILVER GILT CADDY SPOON, ETC, 10 OZ 16 DWT WEIGHABLE Wine taster and several other items in good condition. Most of the other pieces with signs of wear or dents but not split or repaired. Marks mostly good
A VICTORIAN SILVER MOUNTED POLYGONAL CUT GLASS SCENT BOTTLE, THE SHOULDER WITH SPREADING TRELLIS OF 'C' SCROLLS, STOPPER, 12CM H, BY HORTON & ALLDAY, BIRMINGHAM 1893, ANOTHER, APPARENTLY UNMARKED, AN EDWARDIAN SILVER TWO COMPARTMENT POSTAGE STAMP CASE OF ENVELOPE FORM, BIRMINGHAM 1906, TWO SILVER LINCOLN IMP CHARMS AND A PAIR OF SILVER NAPKIN RINGS (7) Caps of both scent bottles dented but not holed or split, the other items in good condition
Firth (J.V.) The Middle East, A Geographical Notebook, George Harrap, 1963, first edition, Christmas card and 1 page A.L.S. from the author loosely inserted, original cloth-backed boards (wear to head and tail of spine); Dakin (Douglas), British Intelligence of Events in Greece, 1824-1827: A Documentary Collection, Athens 1959, Chistmas card with inscription from the author loosely inserted, original wraps; idem, The Greek Struggle in Macedonia, 1867-1913, Thessaloniki, 1993, ?publisher's stamp to acknowledgements and half title, original cloth (3)
Large, André VERLON (Swiss 1917-1993) 1960s mixed media (oil & black ink) & collage painting on board, signed and in original frame and will original label and French customs stamp verso,94 x 58 cmIt is in untouched and original condition, generally fine with a very small amount of surface dirt, consummate with its age
CIRCLE OF HENDRIK GOLTZIUS AFTER POLIDORO CARAVAGGIO (DUTCH 1558-1617) OLYMPIAN GODS, DOUBLE SIDED pen and ink on paper, unframed(16cm x 19cm (6.25in x 7.5in))Footnote: Note: These studies relate to a group of monochrome frescoes by Polidoro of eight Olympian gods in niches that adorned the façade of a house on the Quirinal Hill, Rome. The frescoes are now lost but were recorded in print by Goltzius in 1592. Provenance: Bears the collector's stamp of E. Fabricius, a collector of works by Goltzius (active in Berlin, circa 1920).
VICTORIAN WALNUT AND COROMANDEL DRESSING CASE, PARKINS & GOTTO, LONDON DATED 1879 the hinged top with a horn cartouche and monogram 'M McC'; the interior fitted with a tray, mirror and faceted glass bottles with silver caps, and accessories with mother-of-pearl handles, above a base drawer lined with purple silk and velvet; the silver with maker's stamp TW, possibly Thomas WimbushProvenance: Private collection of G. S. May Esquire(30.5cm wide, 19cm high, 22.5cm deep)
Mauchline ware – eight pieces, comprising a circular reel box (St. Vincents Rocks, Clifton/Clark and Co’s), 8cms, a cylinder box (The Crescent, Filey/Filey Brigg), 8.5cms, a tumbler (The Beach, Worthing), 6.6cms, a circular stamp box (applied stamp/Admiralty Pier, Dover), 5.2cms, a disc form pin cushion (Pevensey Castle/Hastings From The Sea), 5cms, a letter knife (The Abbey, St Albans), 20cms, a book marker (Bath Hotel and Cliff, Cromer), 9.5cms, and a rectangular box (Shanklin From The Cliff), 8.5cms. (8)
A George III rolled colour paper writing companion of rectangular form, the top and sides with geometric panels of rolled paper quill work within rope-strung whitewood borders, the interior lined with original pink paper with pen compartment and a stamp slope flanked by a sander and inkwell, 18.5 x 11.2 x 6cms. From a Connoisseur’s Collection
Two early white wood rectangular boxes, probably early Tunbridge ware, both with sliding lids, one decorated with six playing cards and a duty card within dot and wave border, and containing thirty eight comical coloured game cards, 11 x 7.7 x 4cms, the other painted with a rose spray and fitted with two inkwells, stamp slope and open compartment, 11 x 6.7 x 4cms. (2)
E.V. Howell (English School, early 20th century)A pair of Military Uniform Studies, Office, Pte & Sergt of the Grenadier Company and Pte, Drummer & Officer of Battalion Company, 1759signed, titled and dated 1929, conforming artist's stamp to verso, watercolour and gouache on paper, 32.5cm x 20.5cm, [2]
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